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Bebop Spoken There

Art Blakey: "You [Bobby Watson] don't want to play too long, because you don't know they're clapping because they're glad you finished!" - (JazzTimes, Nov. 2019)..

The Things They Say!

Hudson Music: Lance's "Bebop Spoken Here" is one of the heaviest and most influential jazz blogs in the UK.

Rupert Burley (Dynamic Agency): "BSH just goes from strength to strength".

'606' Club: "A toast to Lance Liddle of the terrific jazz blog 'Bebop Spoken Here'"

The Strictly Smokin' Big Band included Be Bop Spoken Here (sic) in their 5 Favourite Jazz Blogs.

Ann Braithwaite (Braithwaite & Katz Communications) You’re the BEST!

Holly Cooper, Mouthpiece Music: "Lance writes pull quotes like no one else!"

Postage

15867 (and counting) posts since we started blogging 15 years ago. 874 of them this year alone and, so far, 72 this month (Sept. 25).

From This Moment On ...

September

Sat 30: John Pope Quintet + Late Girl + Shapeshifters @ Bobik's, Jesmond, Newcastle.
Sat 30: Papa G's Troves @ Prohibition Bar, Newcastle. 8:00pm. A 'Jar on the Bar' gig.

OCTOBER

Sun 01: Smokin' Spitfires @ The Cluny, Newcastle. 12:45pm.
Sun 01: Dulcie May Moreno sings Portrait of Sheila @ Central Bar, Gateshead. 2:00pm. £10.00. Moreno sings Sheila Jordan with Giles Strong, Mick Shoulder & John Bradford.
Sun 01: Middlesbrough Jazz & Blues Orchestra @ Saltburn Community Hall. 2:00pm.
Sun 01: The Easy Rollers @ Prohibition Bar, Newcastle. 7:00pm. £13.70., £11.55.
Sun 01: Brand/Roberts/Champion/Sanders @ Blank Studios, Newcastle. 8:00pm. A Newcastle Festival of Jazz & Improvised Music event.
Sun 01: Papa G's Troves @ The Globe, Newcastle. 8:00pm.

Mon 02: Harmony Brass @ Cullercoats Crescent Club. 1:00pm.
Mon 02: FILM: Wattstax; 50th Anniversary @ Forum Cinema, Hexham. 8:00pm.

Tue 03: Paul Skerritt @ The Rabbit Hole, Hallgarth St., Durham DH1 3AT. 7:00pm. Paul Skerritt's (solo) weekly residency.
Tue 03: Jam session @ The Black Swan, Newcastle. 7:30pm. House trio: Michael Young (piano); Paul Grainger (double bass); Sid White (drums). CANCELLED!

Wed 04: Vieux Carré Jazzmen @ Cullercoats Crescent Club. 1:00pm.
Wed 04: Darlington Big Band @ Darlington & Simpson Rolling Mills Social Club, Darlington. 7:00pm. Rehearsal session (open to the public).
Wed 04: Paul Skerritt @ Vespa Italian Bar & Steakhouse, Primrose Hill, Jarrow. From 7:00pm. To book a table - 0191 483 3355.
Wed 04: Take it to the Bridge @ The Globe, Newcastle. 7:30pm.

Thu 05: Vieux Carré Jazzmen @ The Holystone, Whitley Road, North Tyneside. 1:00pm. Free.
Thu 05: Sound the Trumpets @ King's Hall, Newcastle University. 1:15pm. Free.
Thu 05: Hot Club du Nord @ The Lubetkin Theatre, Peterlee. 7:00pm. £10.00. POSTPONED!
Thu 05: Thursday Night Prayer Meeting @ The Globe, Newcastle. 7:30pm.
Thu 05: Tommy Bentz Trio + Mark Croft Duo + George Shovlin & George Lamb @ The Harbour View, Sunderland. 8:00pm. Free. Harbour View Speakeasy's USA blues double bill + Shovlin & Lamb!
Thu 05: Merlin Roxby @ Prohibition Bar, Newcastle. 8:00pm. Ragtime piano. A 'Jar on the Bar' gig.
Thu 05: Tees Hot Club @ Dorman's Club, Middlesbrough. 9:00pm.

Fri 06: Alcyona Mick @ Lit & Phil, Newcastle. 1:00pm. A Newcastle Festival of Jazz & Improvised Music event.
Fri 06: Classic Swing @ Cullercoats Crescent Club. 1:00pm.
Fri 06: New Orleans Preservation Jazz Band @ Oxbridge Hotel, Stockton. 1:00pm. £5.00.
Fri 06: Rendezvous Jazz @ The Monkseaton Arms, Monkseaton. 1:00pm.
Fri 06: WORKSHOP: Philosophy of Arts & Entertainment @ Lit & Phil, Newcastle. 2:00pm. A Newcastle Festival of Jazz & Improvised Music event.
Fri 06: Balo @ Lit & Phil, Newcastle. 6:20pm. A Newcastle Festival of Jazz & Improvised Music event.
Fri 06: Paul Skerritt @ 3Sixty Champagne Lounge, Hadrian’s Tower, Newcastle. From 7:00pm. To book a table - 0191 933 8591.
Fri 06: Lexer/Mayes/Noble + Semay Wu + Miman @ Lit & Phil, Newcastle. 7:20pm. A Newcastle Festival of Jazz & Improvised Music event.
Fri 06: Dulcie May Moreno @ The Vault, Hexham. 7:30pm. £20.00. Book in advance. Moreno with Alan Law, Paul Grainger & John Bradford.
Fri 06: Dean Stockdale Quartet @ Saltburn Community Hall. 7:30pm. 'Celebrating Oscar'.
Fri 06: Nu Brass Sounds: Big Brass Bash @ Billy Bootlegger’s, Newcastle. 8:00pm. Free.
Fri 06: TBC @ Prohibition Bar, Newcastle. 8:00pm. Blind Pig Blues Club. A 'Jar on the Bar' gig.

Wednesday, August 31, 2016

What is Jazz? With Alyn Shipton and Alan Barnes @ Ushaw Jazz Festival August 27. + Improvisation Workshop.

(Report by Steve T)
Pre-empting the discussion, I asked the Artist in Residence his basis for including a painting of Tom Waits among artists more widely recognised as Jazz.
He seemed surprised that the question was asked and we agreed that his music has much in common with Jazz: improvisation, innovation and outside the box, but this could equally apply to Captain Beefheart, the Grateful Dead, King Crimson and many others.
He’d either singled out Waits as a special case or recognised no difference, or perhaps more pertinently, difference (coined by French Post-Structuralist Jacques Derrida) anticipating that he will become more widely thought of as part of the Jazz lineage.
The discussion began with Alyn Shipton playing bass and Alan Barnes playing alto. So far, so good.
They then attempted to address the question, which skimmed past my thinning grey hair on its way to the ceiling. Lance, HELP. Hope FDT and the other Early Birds are taking notes – fat chance.
What are the components that make up Jazz?
Time/ Swing. Are they the same thing? Perhaps I could write a poem.
Pitch, harmony, melody – vertical or horizontal?
Coleman Hawkins played vertically while Lester Young played melodically, chords being less important. This I can just about follow.
They tried to demonstrate how to play blues without Jazz feel, which must be like asking an Olympic swimmer to drown.
As a lay-person and a soul fan, this translated to me as playing Jazz without ‘soul’, perfectly feasible but distinctly lacking. I always say there is more to blues (in the sense of Muddy Waters and BB King) than mere chords and scales.
The one hundred notes per second guitarists are routinely accused of a lack of soul, which is an unfair generalisation.
Barnes talked about it in terms of playing above or below and just after or just before.
We learned that Louis Armstrong’s gift to the world was syncopation, the Duke brought a selection of saxophonists with a variety of styles and strengths, Bird brought intellectuality and bebop in general, with an element of onomatopoeia, was a rhythmic and harmonic revolution, even though all the elements were already in place as part of the language of Jazz.
Miles played trumpet the same, whether bebop, hard-bop, orchestral, modal, freebop or fusion, which is also the claim of the Bluffers Guide to Jazz, while Coleman Hawkins changed his style about every ten years.
This begged the question as to whether change is inevitable and always for the better and Barnes seemed to take the view that it isn’t, claiming much recent Jazz lacks feeling.
It also came up that some people – and Wynton Marsalis was one of them – claimed that nothing worthwhile has happened in Jazz since a Love Supreme which, even if you dismiss fusion entirely, seems arbitrary since Trane was still in his prime and Miles had a couple more years before going electric, while Mingus never did.
They felt that virtuosity is now deemed essential, even at the expense of ‘hip’, observing that Hank Mobley was considered a lesser saxophonist than Trane, even though he had a sound which was distinctly him.
If you think I’d lost the thread, you’d probably be right but Shipton asked where they were going only for Barnes to retort it’s Jazz, we’re improvising.
Many musicians and observers have questioned the ratio of repeating to improvisation and Lee Konitz has famously claimed everything should be improvised, while another sax player Dick Morrisey said that a solo was prepared over a lifetime. The current issue of Jazz Journal claims that Ornette Coleman said Albert Ayler only had one solo, but it was a really good one.     
Alan Barnes was witty, at times hilarious, teasing latecomers though wisely leaving teenagers at a self-conscious age. He doesn’t seem to hold critics in very high regard and seemed to keep looking at me on my own in the front row with a notebook and pen. Somebody suggested that critics should be able to play a musical instrument but, while I certainly don’t consider myself a critic, I don’t think music belongs to composers and musicians any more than houses belong to architects and builders.
He also poured scorn on smooth Jazz, a soft target but a prickly one, as there’s more to it than just Russel G’s brother Kenny and Najee, with many listeners I know preferring people like Sanborn and – sorry guitarists – Pat Metheny.
My contribution was highlighting some of the artists featured on the latest Jazz compilation, including Robbie Williams, Duffy, Imelda May, Alison Moyet and Paulo Nutini, and quoting Wayne Shorter from the March issue of Jazz Journal that Jazz means I dare you, which I think they liked.
I tend to agree with the artist in residence that people like Tom Waits, though not necessarily Tom Waits, will be welcomed into the family of Jazz, which will become part of the classical music of the American Century. 
Discuss!
Steve T.
Improvisation Workshop
Apart from the obvious, one of the good things about a festival on the doorstep is that you get to go home for driving, dog-walking and shopping duties. One of the bad things is you’ve got to go home for driving, dog-walking and shopping duties.
I’m reliably informed that the above took place in the theatre with Lord Paul teaching, for anybody who has the faintest what any of this means: guide tones, soloing on three notes and 2-5-1 progressions, with three Early Birds on drums, guitar and trumpet, and others playing piano, trombone, another trumpet and alto/flute.
This was followed by What is Jazz which I have reviewed above with the vain hope of continuing the discussion, Mark Williams and Joel McCullough in the lounge and then the highlight of a festival full of highlights, Alan Barnes, Bruce Adams and the Paul Edis Trio presenting the best example I’ve seen in years of one of the great inventions of the C20th – the standard Jazz quintet.

Russell will review this far more eloquently than I ever could, not least because the obvious benefit of living nearby was kicking in, with me now fetching bottles of Stella two at a time, and the theatre beginning to look like something from a fairy-tale.

4 comments :

Alyn Shipton said...

Steve, interesting to see it from your point of view. Seems you missed the bit where Alan showed how different saxophonists brought their personality to a piece - showing Adderley and Pepper bringing different emphasis and timing to the same phrasing. And we did play for several minutes showing how many great tunes were based on I Got Rhythm - I think I counted about ten.... But thanks for your questions! Alyn

Steven T said...

Didn't really intend it to be comprehensive. I'm sure there's lots of other stuff I missed out, like Bird and bebop also bringing new levels of virtuosity.
As I said, it was mostly over my head, but I think most people there know there's lots of stuff based on I Got Rhythm.

Hugh said...

This presentation was at quite a high level for the non-musician (like me). I enjoyed it though and came away (in Reithian style) educated, informed and entertained.

Steven T said...

Me too.

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